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28 of 32 people found the following review helpful:
4.0 out of 5 stars
"Frailty" is a special film; a thoughtful, quiet thriller., April 18, 2002
Those who happen to catch "Frailty" in theaters will no doubt be reminded of the defense case of convicted murderer Andrea Yates, who took the life of her five young children in what was described by her lawyers and supporters as her attempt to save them from the hellfire. The case was thought-provoking, and a cause for controversy that forced the public to ask themselves, "What defines insanity, and furthermore, sanity?" The psychological elements of "Frailty" work in very much the same manner, posing us that question in a forthright manner that is shocking, brutal, and completely immersive. It possesses a brainy, intricate plot, well-drawn character relationships, and an ending that begs its audience to begin arguing. The movie begins with a meeting, of sorts, between FBI agent Wesley Doyle (Powers Boothe), and Fenton Meiks (Matthew McConaughey), who claims to have information about the identity of the God's Hand killer, the case Doyle presides over. There are some initial revelations that are placed on the table upfront, one of which is Fenton's statement that his brother, Adam, is the killer; Doyle is disbelieving, but intrigued enough to listen to what Fenton has to say. Fenton jumps back in time to his childhood, revealing the relationship between he, Adam, and their father, played by Bill Paxton who is known throughout the film as "Dad." We see them as a family, tightly knit as a result of their mother's death, made stronger by their dependence on one another. The film makes it clear that Paxton's character is a devoted father, loving of his children, and willing to do anything to protect them. His children, in turn, mirror these qualities. One night, things change. The father wakes his children up in the middle of the night to tell them of a vision from an angel, who spoke to him about his role as God's servant in destroying demons who walk the earth in human form. He claims that when he places his hands upon the person, he can reveal them for who they really are. He further informs them that he will be receiving weapons and a list of those to be destroyed. In any other movie, the father would be an abusive wretch bent on exacting bloody justice; the fact that he is a loving and caring father makes this new development all the more unsettling. The younger, impressionable son, Adam, willingly accepts his father's statement (in one moment, he asks his father, "Are we going to be superheroes?"). Fenton, on the other hand, believes it is all a bad dream, until his father brings home a young woman in the middle of the night, carries her into their shed, and takes an axe to her. Such scenes are handled exquisitely, choosing to keep the gore almost non-existent, thereby increasing the shock factor. The presence of the children in the midst of such violence is brutal, a testament to the film's honest approach. The way in which Paxton carries out these events, both as an actor and as a director, is spellbinding. In front of the camera, he portrays the father with a believable conviction of his faith, matching the religious fanaticism and lunacy of Piper Laurie's Mrs. White in "Carrie." In the director's chair, he handles the material nicely, balancing the supreme chills with the ongoing argument of divine intervention that remains intact and fruitful. The two story lines, past and present, weave into one another fluidly without losing interest, and McConaughey provides his character with a tidal wave of mystery that keeps us waiting for the final resolution. Without revealing the major twists, the film's ending is that rare gem that works with and against it. There are revelations aplenty, those that work, and those that do and don't simultaneously. The negation of the film's earlier neutrality in concern to the father's carryings-on is slightly disappointing; this choosing of sides and a murky role reversal don't altogether work in the material's favor, but they do, however, provide a nice surprise twist that casts predictability and convention into the wind. And even now, thinking about the ending, I'm reminded of how the film challenged me to think, of how it worked me in ways many other films fail to. Bill Paxton's career as an actor shines here, and his start as a director is promising. "Frailty" is a special film, a thoughtful, quiet thriller with enough brains, realistic chills, and effective energy to make up for its few, easily forgiveable flaws.
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